传记

朱里奥·罗马诺出生在罗马;“罗马”是指这个。作为一个年轻的助理拉斐尔的工作室,他工作的壁画梵蒂冈从事在拉斐尔的Stanze设计由拉斐尔和梵蒂冈描绘了一群人物火Borgo壁画。他还在合作的天花板的装饰别墅宏伟。越来越多的他成了主人的得力助手,尽管他相对年轻。拉斐尔死后1520年,他帮助完成梵蒂冈康斯坦丁生活的壁画以及拉斐尔的圣母加冕和变形在梵蒂冈。在罗马,朱里奥的装饰别墅Madama为红衣主教朱利亚诺·德·美第奇,后来克莱门特七世.^[1]拥挤的朱里奥·罗马诺壁画缺乏庄严宁静的简单性,他的主人。

从1522年他追求了费德里科•贡扎加的统治者曼图亚显然希望他作为法院艺术家,特别是他的技能作为一个建筑师所吸引。在1524年末朱利奥同意搬到曼图亚,在那里他仍然对他的余生。他因此避免的灾难罗马的袋1527年,在罗马和巨大破坏艺术赞助分散的拉斐尔的车间。瓦萨里告诉我们博得塞尔马匹被委托的费德里科•贡扎加执行采购朱利奥公国的绘画和建筑和工程项目曼图亚。他的杰作的建筑和壁画画在这个城市的郊区宫殿Te,以其著名的为壁画(c . 1525—1525)。他还帮助重建曼图亚公爵殿中,重建教堂,附近的教堂圣Benedetto而设计的。部分洪水泛滥是翻新的曼图亚在朱里奥的方向,和公爵的赞助和友谊从未动摇:朱里奥的年收入超过1000金币。他的工作室成为一个受欢迎的艺术学院。

在文艺复兴时期的传统,许多的朱里奥的作品都只是暂时的。根据Giorgio Vasari:

当查理五世来到曼图亚,朱里奥公爵的秩序,使许多细拱门,场景喜剧和其他事情,他没有同伴,没有人喜欢他伪装,使得竞技好奇的服装盛宴,比赛,兴奋奇迹在皇帝和所有礼物。他设计的曼图亚在不同时期寺庙、教堂、房屋、花园、外墙,并非常喜欢装饰,由他的产业,他呈现干燥、健康和愉快的地方以前脏的,满是积水,几乎无法居住。^[2]

他前往法国上半年的16世纪,意大利风格的法国法院的概念弗朗西斯我.

朱里奥也设计的挂毯。谣传他促成了专辑的图纸我修改刻了马可安东尼奥•莱蒙蒂。他死于1546年的曼图亚。根据Giorgio Vasari,他最好的学生乔凡尼木豆Lione,Raffaellino dal贴画,Benedetto Pagni,Figurino达恩,Giovanni Battista Bertani和他的弟弟莱接风Guisoni.

朱里奥·罗马诺的区别是唯一提到的文艺复兴时期的艺术家威廉·莎士比亚。在第五幕,场景二世《冬天的故事》赫敏女王的雕像是“罕见的意大利大师,胡里奥·罗马诺”,虽然朱里奥不是雕塑家。

体系结构

朱里奥在整个更具影响力比作为一个画家,建筑师和他的作品有一个巨大的影响意大利矫揉造作者架构。他学会了架构以同样的方式学习绘画,拉斐尔越来越信任的助手,在1514年被任命为教皇建筑师和他的早期作品非常在拉斐尔的风格。的项目别墅Madama罗马外,由未来美第奇教皇克莱门特七世给朱里奥在拉斐尔的死,已经显示了他在文艺复兴时期的风格喜欢好玩的惊喜古典建筑。计划大规模的解雇是不完整的罗马,永远不会结束。 

的别墅Lante al Gianicolo(1520 - 21)是一个更小的在罗马郊区的别墅,有一个著名的观点。Romano使整个建筑建议轻盈,优雅利用脊顶位置和克服,而小罗马足迹。订单是微妙的,托斯卡纳或多利安式列和壁柱对主要的地板上,极浅离子壁柱之上的存在主要是通过一个不同的颜色。交替凉廊空缺由拱门上方的高度柱上楣构。Romano愿意玩的约定古典的订单已经在证据;这里的多利安式滴但是没有花纹装饰在其狭窄的柱上楣构。离子泵体的首都是重复在窗口之间围绕着他们:“这里的轮唱的订单开始作为独立于治疗视觉结构的目的,而这解放提供了架构师新表达的可能性。 

他最后一次在罗马建筑,宫殿Maccarani Stati(它)(开始1522 - 23),是一个相当大的对比,市中心的宫殿,一楼的商店,和一个巨大的,强加的感觉。的乡村生活和夸大的大小应重视如此杰出的他后来建筑目前在曼图亚已经在一楼,它可应用于任何古典秩序,但这两个上层越来越浅订单壁柱,有些别墅Lante的方式。 

他第一次在曼图亚仍是他最著名的作品在架构。的奎里纳勒宫Te城外行宫,始建1524年左右,十年后完成。朱里奥可以,因为建筑的功能,充分满足他顽皮的创造力。

Biography

Giulio Romano was born in Rome; the "Romano" refers to this. As a young assistant inRaphael's studio, he worked on the frescos in the Vatican loggias to designs by Raphael and in Raphael's Stanze in the Vatican painted a group of figures in the Fire in the Borgo fresco. He also collaborated on the decoration of the ceiling of the Villa Farnesina. Increasingly he became the master's right-hand man, despite his relative youth. After the death of Raphael in 1520, he helped complete the Vatican frescoes of the life of Constantine as well as Raphael's Coronation of the Virgin and the Transfiguration in the Vatican. In Rome, Giulio decorated the Villa Madama for Cardinal Giuliano de' Medici, afterwards Clement VII.^[1] The crowded Giulio Romano frescoes lack the stately and serene simplicity of his master.

From 1522 he was courted by Federico Gonzaga, ruler of Mantua, who wanted him as court artist, apparently especially attracted by his skill as an architect. In late 1524 Giulio agreed to move to Mantua, where he remained for the rest of his life. He thus avoided the disaster of the Sack of Rome in 1527, which hugely disrupted artistic patronage in Rome and dispersed the remains of Raphael's workshop. Vasari tells how Baldassare Castiglionewas delegated by Federico Gonzaga to procure Giulio to execute paintings and architectural and engineering projects for the duchy of Mantua. His masterpiece of architecture and fresco painting in that city is the suburban Palazzo Te, with its famous illusionistic frescos (c. 1525–1535). He also helped rebuild the ducal palace in Mantua, reconstructed the cathedral, and designed the nearby Church of San Benedetto. Sections of Mantua that had been flood-prone were refurbished under Giulio's direction, and the duke's patronage and friendship never faltered: Giulio's annual income amounted to more than 1000 ducats. His studio became a popular school of art.

In Renaissance tradition, many works of Giulio's were only temporary. According to Giorgio Vasari:

When Charles V came to Mantua, Giulio, by the duke's order, made many fine arches, scenes for comedies and other things, in which he had no peer, no one being like him for masquerades, and making curious costumes for jousts, feasts, tournaments, which excited great wonder in the emperor and in all present. For the city of Mantua at various times he designed temples, chapels, houses, gardens, facades, and was so fond of decorating them that, by his industry, he rendered dry, healthy and pleasant places previously miry, full of stagnant water, and almost uninhabitable. 

He traveled to France in the first half of the 16th century and brought concepts of the Italian style to the French court of Francis I.

Giulio also designed tapestries. It is rumored that he contributed to the drawings upon which the albumI Modi was engraved by Marcantonio Raimondi. He died in Mantua in 1546. According to Giorgio Vasari, his best pupils were Giovanni dal Lione, Raffaellino dal Colle, Benedetto Pagni, Figurino da Faenza,Giovanni Battista Bertani and his brother Rinaldo, and Fermo Guisoni.

Giulio Romano has the distinction of being the only Renaissance artist to be mentioned by William Shakespeare. In Act V, Scene II of The Winter's Tale Queen Hermione's statue is by "that rare Italian master, Julio Romano", although Giulio was not a sculptor.

Architecture

Giulio was on the whole more influential as an architect than as a painter, and his works had an enormous impact on Italian Mannerist architecture. He learnt architecture the same way he learned painting, as an increasingly trusted assistant to Raphael, who was appointed the papal architect in 1514, and his early works are very much in Raphael's style. The project for the Villa Madama outside Rome, built by the future Medici Pope Clement VII was given to Giulio on Raphael's death, and already shows his taste for playful surprises within the style of Renaissance classical architecture. Planned on a huge scale, it was incomplete by the Sack of Rome, and never finished.

The Villa Lante al Gianicolo (1520–21) was a smaller suburban villa in Rome, with a famous view over the city. Romano made the whole building suggest lightness and elegance to exploit the ridge-top position and overcome the rather small Roman footprint. The orders are delicate, with Tuscan or Doric columns and pilasters in pairs on the main floor, and extremely shallow Ionic pilasters above, whose presence is mainly conveyed by a different colour. Alternate loggia openings are heightened by arches above the entablature. Romano's willingness to play with the conventions of the classical orders is already in evidence; the Doric here has guttae but no triglyphs on its narrow entablature. The volutes of the Ionic capitals are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive possibilities." 

His last building in Rome, the Palazzo Maccarani Stati (it) (started 1522-23), was a considerable contrast, being a palazzo in the city centre, with shops on the ground floor, and a massive, imposing feel. The rustication and exaggerated size ofkeystones that were to be so prominent in his later buildings in Mantua are already present on the ground floor, which dispenses with any classical order, but the two upper floors have increasingly shallow orders in pilasters, somewhat in the manner of the Villa Lante. 

His first building in Mantua has remained his most famous work in architecture. The Palazzo del Te was a pleasure palace outside the city that was begun around 1524 and completed a decade later. Here Giulio was able, because of the function of the building, to indulge to the full his playful inventiveness.